Composition/Analysis Assignments
Music 335
Frye
Theory 335
Comp/Analysis project #1
Option a:
You will be creating a graphic analysis of one of the following Bach Two Part Inventions : #3, #5, #7, #8, #11. #15 (or similar imitative works). Copies of these works can be procured at the listening lab office. Your analysis will be done on graph paper with colored pencils/markers and will indicate each voice in different colors with pitch being the y axis and rhythm as the x axis. You will also be identifying the following things for each Invention (when applicable):
- Keys (tonic key and all tonicizations and modulations)
- All entrances of theme and countertheme
- Examples of sequences and sequential imitation
- Fragmentation of theme
- Cadences
- Inversion of theme or countertheme
- Rhythmic diminution or augmentation
Comp/Analysis project #2
Option a:
Analyze the Schubert song ̉Der Muller und der BachÓ by answering the following questions. Write your answers in complete sentences on a separate sheet of paper.
- What is the key of the piece at the beginning?
- Is there an introduction and if so, what kind of mood does it create?
- What key does Schubert change to at ms. 29 and why?
- What else changes at ms. 29 and why?
- Does Schubert return to the original key and where?
- What purpose do mss. 83-89 serve and where does the material for this section come from?
- What is the C# in ms. 31?
- What is different about the C# in ms. 35 to the one in ms. 31?
- Find an example of another accidental functioning in two different ways in this work and explain where they are and how they function.
- Analyze mss. 1-28 completely for key, chords, cadences and nonharmonic tones on the music.
- Diagram the phrase structure of mss. 1-28.
Option b:
Set the text of a short poem (4-6 lines) to a melody. The melody should be neatly written with the text underneath (hint: write out the text before you write out the pitches). Harmonize the melody with chord symbols. You should end up with a leadsheet with melody, text and chord symbols.
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